To GSTAAD, Deputy Norma of Sonya Yoncheva

In Gstaad. Nevertheless, the vocal beauty of Sonya Yoncheva fails to embody the tragic of the title role of the Norma De Vincenzo Bellini.

Norma From gstaad, deputy norma sonya yoncheva Vincenzo Bellini, emblematic opera of the Bel Canto! Consequently, To say this is a commonplace for any lover of lyrical art. Consequently, Norma is one of this ten essential lyric works of everyone. In addition, Carmen, The traviata, The bohemian, The RosenkavalieR are on this list. Consequently, This means that independently of his notoriety with the public, Norma cannot be treated by “under the leg”. However, And when we talk about this opera, it is immediately to the very character of Norma that we think. For example, And of course comes to mind the names of the tales who have marked the role. Similarly, First of all. Consequently, Joan Sutherland, Monserrat Caballé, Maria Callas, Renata Scotto, Anita Cerquetti, Beverly Syls or even closer to us, Cecilia Bartoli. Therefore, But we are not normal because we are a soprano. Therefore, We are normal because we have. in addition to the enormous gstaad, deputy norma sonya yoncheva vocal qualities necessary for Belcanto, the spirit of a tragic song combined with a powerful character but nevertheless tortured, deceived and ultimately guilty. For example, We are also normal because by kissing the title role we adorn ourselves with the status of prima donna. Prima Donna is. by its presence, by its vocal evidence, by its artistic investment, that which brings a brilliant dimension, almost supra natural to the interpretation, to the delirium almost of the work as a whole.

Now what Sonya Yoncheva offered in this concerting version (badly) spaces on the stage of the large tent of the menuhin festival. is far from this ideal. Where we expect the soprano that it leads. by its song, by its stage play, by its presence, by its deep understanding of the character of Norma, the other protagonists of the plateau towards a performance which takes you, we are witnessing an gstaad, deputy norma sonya yoncheva alignment of sung sentences without conviction. Like his “Casta Diva” which owes much more to the musical writing of Vincenzo Bellini than what the song. without colors of Sonya Yoncheva reveals. Admittedly the voice is beautiful. well posed, full of pretty, with what is necessary of Legato, but it does not tell anything about this incantation to the moon, to its peace and its celestial harmony. The soprano rests on his vocal knowledge, imagining that it is enough to live in the character. By the way, forgetting the rigor of the score, it gratifies us with many approximations. Laboring in the recitatives. bordering on the accuracy in the treble, often taking up her breath, she shows the limits of her agility in the hood of “Casta Diva” sloppy at will. His norma is vocally monolithic, without willingness to reveal the torments that assail his character. Singing frequently in profile. sometimes gstaad, deputy norma sonya yoncheva even turning your back on the spectators, we see it approaching the head of the chief as if to ask him for advice and turn against the public only to issue her strongest notes. As for the gestures. she comes down, apart from those among the most conventional theater, to pass her hands in her hair making her go from one side to the other from her head. At least we will have admired the three dresses she carries during this somewhat indigent show. A white sparkling of rhinestones. followed by a black scabbard covered with a black coat with an embellishment sewn with gold to finally see the ultimate: an immaculate dress with invasive flying; Some of these dresses having little to do with the intrigue or the character of Norma.

By her side, Karine Deshayes (Adalgisa) lives in the character of the young druidse in the making with a very special care. Unfortunately served by the little reverberant acoustics of the festival tent – when is a performance hall worthy of this festival. the environmental wealth of GSTAAD? – The voice of the French soprano does not always manage to pass the ramp so that we can. fully appreciate the thickness of his character.

Rented in our lines for his recent performance in Norma In Berlin. one could only rejoice to hear Stefan Pop (Pollione) regain the role. Unfortunately, what seems to have hit the stage of the Staatsoper did not hit us in this improved concert confrontation (?). If the volume. sometimes even excessive, of the tenor allows him to approach this role with ease, a certain absence of sensitivity to the spirit of the intrigue gstaad, deputy norma sonya yoncheva makes it a character without relief. Worse. without acting as an actor, he is ridiculous with certain attitudes and gestures more appropriate to a Feydeau theater than to the Bellini Opera.

Even if the character of Overoso. Norma’s father, does not occupy a very large place in the Bellinian partition, she nevertheless requires a bass with an extended register. Thus. having called on Alexander Vinogradov (Overoso), perhaps the largest current lyrical bass, would have been a winning asset if a certain lack of musicality (partly due to an overly noisy orchestra) had not forced him to upgrade the tone beyond an appropriate musicality from the first measures of the Opera. Her ” Ite on the hill Initial arrives like a cannon stroke on an audience that did not ask. for so much.

In the two roles of Comprimari. if the soprano Kristine Klein (Clotilde) holds her place in a minor gstaad, deputy norma sonya yoncheva role but which nevertheless requires great attention, the few words that she sings in front of precision, the sea tenor Yonchev (Flavio), with a dull voice, lack of base. For his part, the Bühnen Bern choir, more static than ever, nevertheless offers a precise and very musical performance.

Unfortunately, the same cannot be said of the Orchestra Gstaad Festival which appears to us extremely noisy. It is true that the Hindoyan Domingo chief. husband of Sonya Yoncheva, did not show his greatest talent in his direction of orchestra. Treating this admirable music without much nuances. largely missing out on his dramatic character, he trains his orchestra in frequent sequences of heavy firefighters.

Gstaad, deputy norma sonya yoncheva

Photographic credit: © Raphael Faux

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